The Marble Faun

Seeing Hilda’s sadness and loneliness, an old German artist advises her to return to America, but she insists that the Old Masters keep her in Rome. At the same time, her despondency makes her see the emotional emptiness in some Renaissance artists who are highly admired. Hilda feels deep nostalgia for her New England home and also wishes Kenyon were with her to share her secret.

Hilda makes pilgrimages among the churches of Rome, admires their visual splendor, and observes the spiritual consolation that Catholics find in them. She feels that the Virgin Mary is a motherly figure who can console distressed women like her. It is St. Peter’s Basilica that impresses her the most, with its “rich adornment” and “space and loftiness” (255).

Approaching the altar, Hilda worries that her Puritan ancestors would disapprove of her for being entranced by “gaudy superstitions.” However, looking at a mosaic copy of Guido’s painting of St. Michael, she notices that the picture’s message “appealed as much to Puritans as Catholics” (257). Kneeling before the altar, Hilda sobs and prays “that […] the burden of her spirit might be lightened a little” (257). She feels an intuition that she will receive spiritual relief very soon here.

Hilda finds a confessional with an English-speaking priest. She tells the priest, who is also from New England, about the murder, but without naming any names. In doing so, she experiences an immense relief and feels like “Hilda of the dove-cote” again (260).

Stepping out of the confessional, the priest explains that since Hilda is not Catholic and does not believe in the sacrament, he is not bound by the seal of the confessional. In fact, he is obliged to tell the proper authorities about the murder because otherwise “further evil consequences” might ensue (262). Hilda objects strongly to this. The priest backs down and explains that he will probably not need to reveal the murder since the facts of it are already known in the neighborhood where it occurred.

Finally, the priest asks Hilda if she wants to be received into the Catholic Church: “Come home, and be at rest” (263). Hilda demurs, saying, “I dare not come a step farther than Providence shall guide me […] I am a daughter of the Puritans” (264). The priest is disappointed but gives Hilda his blessing.

While Hilda receives the priest’s blessing, Kenyon is watching nearby with “a deep and sad interest” (264). Hilda greets Kenyon joyfully and explains that “a great burden has been lifted from [her] heart” (266). Kenyon reproaches Hilda for going to confession and thus betraying her Protestant heritage. Hilda defends her growing attraction to Catholic practice and worship, although she confesses, “I do not quite know what I am” (268).

After walking around Roman monuments, Kenyon accompanies Hilda back to her home. Looking up from the street at Hilda’s balcony, Kenyon reflects on how “unattainable” and spiritually superior she is and wishes that he could “draw her down to an earthly fireside” (271). Just then, one of the doves flies down to him and brushes his face, and Hilda smiles.

Kenyon is in love with Hilda, but she continues to treat him as a “dear friend and trusty counselor” (273). Kenyon’s artistic personality becomes more “delicate” under Hilda’s influence, and he makes a sculpture depicting “maidenhood gathering a snowdrop” (273). Hilda too experiences a deepening of her artistic personality because of her recent confession.

Kenyon shows Hilda his sculptures of Cleopatra and of Donatello. Hilda says that Donatello’s face shows “a growing intellectual power and moral sense” that far surpasses the faun. Kenyon promises that he will not change the sculpture; it has remained in an unfinished state, impressing viewers with its depiction of spiritual growth.

Hilda and Kenyon talk about Miriam, Donatello, and their crime. Hilda asks Kenyon never to mention Miriam or the murder, but Kenyon tells her that she is being too harsh: “You need no mercy, and therefore know not how to show any” (280). He believes that good often mixes with evil and that Miriam and Donatello’s situation contained extenuating circumstances. Hilda rejects the idea that good and evil can have anything in common.

However, as she reflects further on the matter Hilda realizes that Miriam needs her: “Miriam loved me well, and I failed her at her sorest need” (281). Hilda also remembers the package that Miriam had entrusted to her to deliver in the event of her absence from Rome. Rushing to her room, she realizes that it is to be delivered that day. Hilda walks through rough areas of Rome to deliver the package to the Palazzo Cenci.

Kenyon waits at the Vatican galleries for Hilda—he had intended to propose marriage to her there—but she fails to come. Disappointed, Kenyon wanders the streets of Rome. He comes across a penitent dressed in a white robe and a mask. When the penitent says a few words to Kenyon, he is convinced that it is Donatello.

Later, coming back from seeing a play, Kenyon sees a carriage pass by. Inside are Miriam and an unknown man. She is unable to give him any explanation but says, “[W]hen the lamp goes out do not despair” (289). More confused than ever, Kenyon walks to Hilda’s apartment and looks up at the Virgin’s lamp. Just as he does so, the light flickers and goes out.

Kenyon asks a passerby to confirm that the Virgin’s lamp is extinguished. The man does so, adding that the event signals “some great misfortune” (291). Kenyon makes his way up to the apartment and finds Hilda gone.

The following morning Kenyon investigates Hilda’s whereabouts. He talks with the landlady and engages the police, but no trace of Hilda turns up after several days.

With Hilda gone, Kenyon feels the oppressive dreariness of Rome all the more. He happens to meet the priest to whom Hilda confessed; the priest knows nothing about her whereabouts but expresses the possibility that she may convert to Catholicism. This gives Kenyon the idea that Hilda may be hiding out at a convent and receiving religious instruction.

Kenyon receives a mysterious letter that prompts him to leave Rome.